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FULL SUMMARY OF THE PROUD KING
from admin on 07/02/2017 05:06 AMTHERE was once a king who ruled over many lands; he went to war, and added one country after another to his kingdom. At last he came to be emperor, and that is as much as any man can be. One night, after he was crowned emperor, he lay awake and thought about himself. "Surely," he said, "no one can be greater than I am, on earth or in heaven." The proud king fell asleep with these thoughts. When he awoke, the day was fair, and he looked out on thepleasant world. "Come," he said to the men about him; "to-day we will go a- hunting." The horses were brought, the dogs came leaping, the horns sounded, and the proud king with his courtiers rode off to the sport. They had hunted all the morning, and were now in a deep wood. In the fields the sun had beat upon their heads, and they were glad of the shade of the trees; but the proud king wished for something more. He saw a lake not far off, and he said to his men:— "Bide ye here, while I bathe in the lake and cool myself." Then he rode apart till he came to the shore of the lake. There he got down from his horse, laid aside his clothes, and plunged into the cool water. He swam about, and sometimes dived beneath the surface, and so was once more cool and fresh. Now while the proud king was swimming away from the shore and diving to the bottom, there came one who had the same face and form as the king. He drew near the shore, dressed himself in the king's clothes, mounted the king's horse and rode away. So when the proud king was once more cool and fresh, and came to the place where he had left his clothes and his horse, there were no clothes to be seen, and no horse. The proud king looked about, but saw no man. He called, but no one heard him. The air was mild, but the wood was dark, and no sunshine came through to warm him after his cool bath. He walked by the shore of the lake and cast about in his mind what he should do. "I have it," he cried at last. "Not far from here lives a knight. It was but a few days ago that I made him a knight and gave him a castle. I will go to him, and he will be glad enough to clothe his king." The proud king wove some. reeds into a mat and bound the mat about him, and then he walked to the castle of the knight. He beat loudly at the gate of the castle and called for the porter. The porter came and stood behind the gate. He did not draw the. bolt at once, but asked:— "Who is there?" "Open the gate," said the proud king, "and you will see who I am." The porter opened the gate, and was amazedat what he saw. "Who are you?" he asked. "Wretch!" said the proud king; "I am the emperor. Go to your master.Bid him come to me with clothes. I have lost both clothes and horse." "A pretty emperor!" the porter laughed. "The great emperor was here not an hour ago. He came with his court from a hunt. My master was with him and sat at meat with him. But. stay you here. I will call my master. Oh, yes! I will show him the emperor," and the porter wagged his beard and laughed, and went within. He came forth again with theknight and pointed at the proud king. "There is the emperor!" he said. "Look at him! look at the great emperor!" "Draw near," said the proud kingto the knight, "and kneel to me. I gave thee this castle. I made thee knight. I give thee now a greater gift. I give thee the chance to clothe thy emperor with clothes of thine own." "You dog!" cried the knight. "You fool! I have just ridden with the emperor, and have come back to my castle. Here!" he shouted to his servants, "beat this fellow and drive him away from the gate."
Reply****Othello*** ACT I\r\nSCENE I. Venice. A street.
from admin on 07/02/2017 05:00 AMEnter *RODERIGO and IAGORODERIGO*
Tush! never tell me; I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this.
*IAGO*
'Sblood, but you will not hear me: If ever I did dream of such a matter, Abhor me.
*RODERIGO*
Thou told'st me thou didst hold him in thy hate.
*IAGO*
Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Off-capp'd to him: and, by the faith of man, I know my price, I am worth no worse a place: But he; as loving his own pride and purposes, Evades them, with a bombast circumstance Horribly stuff'd with epithets of war; And, in conc lusion, Nonsuits my mediators; for, 'Certes,' says he, 'I have already chose my officer.' And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine, A fellow almost damn'd in a fair wife; That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can propose As masterly as he: mere prattle, without practise, Is all his soldiership. But he, sir, had the election: And I, of whom his eyes had seen the proof At Rhodes, at Cyprus and on other grounds Christian and heathen, must be be-lee'd and calm'd By debitor and creditor: this counter-caster, He, in good time, must his lieutenant be, And I--God bless the mark!--his Moorship's ancient.
*RODERIGO*
By heaven, I rather would have been his hangman.
*IAGO*
Why, there's no remedy; 'tis the curse of service, Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to the first. Now, sir, be judge yourself, Whether I in any just term am affined To love the Moor.
*RODERIGO*
I would not follow him then.
*IAGO*
O, sir, content you; I follow him to serve my turn upon him: We cannot all be masters, nor all masters Cannot be truly follow'd. You shall mark Many a duteous and knee-crooking knave, That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, For nought but provender, and when he's old, cashier'd: Whip me such honest knaves. Others there are Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves, And, throwing but shows of service on their lords, Do well thrive by them and when they have lined their coats Do themselves homage: these fellows have some soul; And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be
*Iago*:
In following him, I follow but myself; Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am.
Continue reading with the below link
http://shakespeare.mit.edu/othello/full.html
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Faceless
from admin on 07/02/2017 04:36 AM
Facelessis the pathetic and gripping story of children plunged into the streets by poverty and parental neglect. Amma Darko in very graphic details presents mind-boggling sociological issues of child-neglect, child abuse, defilement of girls, gender, child-trafficking, child-labour, absent fathers, reproductive health risks, violence and failed governance through the grim experiences of street children.
Amma Darko tells the world that every street child has a story, though rarely told. The common denominator in all of these stories is parental neglect. In Accra, MUTE, a non-governmental organisation seeks to unravel the mysterious death of Baby T, a child prostitute whose battered body was found in a slum behind a rasta hair salon kiosk. MUTE’s encounter with Fofo, Baby T’s sister opens an investigative trail into the lives of neglected children. Where do street children come from? Why are they on the street? Who are their parents? These are some of the questions answered unequivocally inFaceless.
Firmly embedded inFacelessis the loud and clear message that parents should take responsibility for their children. More pronounced is the message that no child should be brought into the world without visible means of providing for him physically, financially, psychologically and emotionally. Amma Darko’sFacelessis a well-researched story and a really good read.
The Last Goodman
from admin on 07/02/2017 12:27 AMAccording to the Talmud, thirty-six righteous people exist on earth and if they all die, so does humanity. Now, people are dying all over the world with strange marks on their backs and it's up to a Danish policeman named Niels Bentzon to find out why. There have been thirty-four deaths already. Can Niels save the last two good men and save the world?
First off, I received this ARC from Scribner in exchange for reviewing it. This did not influence my opinion in the least. To be honest, The Last Good Man didn't have a whole lot going for it when I read the back cover blurb comparing it to The DaVinci Code and The Girl with the Dragon Tattoo, a book I'll never read and one I'm skeptical of because of all the hype. Still, free is free, and I begrudgingly gave it a read. Despite my initial misgivings, I wound up liking The Last Good Man quite a bit.
The main characters are an interesting bunch. Niels Bentzon, the protagonist, is a hostage negotiator who's manic depressive, can't bring himself to shoot anyone, and is manic depressive. He's a far cry from the macho hero I was dreading in this outing. The female lead, Hannah Lund, is also atypical. She's a divorced astrophysicist with a dead son and difficulty relating to anyone who isn't a genius. Interested yet?
Here's something else to pique your curiosity. This book has so many twists that it could be called The Last Good Man and his One Hundred Red Herrings. Some of the twists are predictable, many are not. One thing that I loved was that Kazinski avoided a lot of the thriller cliches that I hate.
For a thriller, it's surprisingly deep. The nature of good and evil are explored, as well as the existence of God. I liked that the plot was rooted in Jewish texts. The way Hannah figured out how to predict where the final two victims would be was pretty cool. Also, loved the ending. Not what I expected at all when I first picked up the book.
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That's about all I can say without blowing any surprises. The Last Good Man is a good thriller and good entertainment for a rainy evening.
Cont..... She Stoops to Conquer
from admin on 07/02/2017 12:15 AMThere are two epilogues generally printed to the play, one of which sketches in metaphor Goldsmith's attempt to bring comedy back to its traditional roots, and the other of which suggests Tony Lumpkin has adventures yet to be realized
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Cont..... She Stoops to Conquer
from admin on 07/02/2017 12:12 AMAct IV finds the plots almost falling apart. News has spread that Sir Charles Marlow(Hardcastle's friend, and father to young Marlow) is on his way, which will reveal Hastings's identity as beloved of Constance and also force the question of whether Kate and Marlow are to marry. Hastings has sent the jewels in a casket to Marlow for safekeeping but Marlow, confused, has given them to Mrs. Hardcastle (whom he still believes is the landlady of the inn). When Hastings learns this, he realizes his plan to elope with wealth is over, and decides he must convince Constance to elope immediately. Meanwhile, Marlow's impertinence towards Hardcastle (whom he believes is the landlord) reaches its apex, and Hardcastle kicks him out of the house, during which altercation Marlow begins to realize what is actually happening. He finds Kate, who now pretends to be a poor relation to the Hardcastles, which would make her a proper match as far as class but not a good marriage as far as wealth. Marlow is starting to love her, but cannot pursue it because it would be unacceptable to his father because of her lack of weatlh, so he leaves her. Meanwhile, a letter from Hastings arrives that Mrs. Hardcastle intercepts, and she reads that he waits for Constance in the garden, ready to elope. Angry, she insists that she will bring Constance far away, and makes plans for that. Marlow, Hastings and Tony confront one another, and the anger over all the deceit leads to a severe argument, resolved temporarily when Tony promises to solve the problem for Hastings.
Act V finds the truth coming to light, and everyone happy. Sir Charles has arrived, and he and Hastings laugh together over the confusion young Marlow was in. Marlow arrives to apologize, and in the discussion over Kate, claims he barely talked to Kate. Hardcastle accuses him of lying, since Hardcastle saw him embrace Kate (but Marlow does not know that was indeed Kate). Kate arrives after Marlow leaves the room and convinces the older men she will reveal the full truth if they watch an interview between the two from a hidden vantage behind a screen. Meanwhile, Hastings waits in the garden, per Tony's instruction, and Tony arrives to tell him that he drove his mother and Constance all over in circles, so that they think they are lost far from home when in fact they have been left nearby. Mrs. Hardcastle, distraught, arrives and is convinced she must hide from a highwayman who is approaching. The “highwayman” proves to be Mr. Hardcastle, who scares her in her confusion for a while but ultimately discovers what is happening. Hastings and Constance, nearby, decide they will not elope but rather appeal to Mr. Hardcastle for mercy. Back at the house, the interview between Kate (playing the poor relation) and Marlow reveals his truly good character, and after some discussion, everyone agrees to the match. Hastings and Constance ask permission to marry and, since Tony is actually of age and therefore can of his own volition decide not to marry Constance, the permission is granted. All are happy (except for miserly Mrs. Hardcastle), and the "mistakes of a night" have been corrected.
She Stoops to Conquer
from admin on 07/02/2017 12:08 AMShe Stoops to Conqueropens with a prologue in which an actor mourns the death of the classical low comedy at the altar of sentimental, "mawkish" comedy. He hopes that Dr. Goldsmith can remedy this problem through the play about to be presented.
Act I is full of set-up for the rest of the play. Mr. and Mrs. Hardcastlelive in an old house that resembles an inn, and they are waiting for the arrival of Marlow, son of Mr. Hardcastle's old friend and a possible suitor to his daughter Kate. Kate is very close to her father, so much so that she dresses plainly in the evenings (to suit his conservative tastes) and fancifully in the mornings for her friends. Meanwhile, Mrs. Hardcastle's niece Constance is in the old woman's care, and has her small inheritance (consisting of some valuable jewels) held until she is married, hopefully to Mrs. Hardcastle's spoiled son from an earlier marriage, Tony Lumpkin. The problem is that neither Tony nor Constance loves the other, and in fact Constance has a beloved, who will be traveling to the house that night with Marlow. Tony's problem is also that he is a drunk and a lover of low living, which he shows when the play shifts to a pub nearby. When Marlow and Hastings(Constance's beloved) arrive at the pub, lost on the way to Hardcastle's, Tony plays a practical joke by telling the two men that there is no room at the pub and that they can find lodging at the old inn down the road (which is of course Hardcastle's home).
Act II sees the plot get complicated. When Marlow and Hastings arrive, they are impertinent and rude with Hardcastle, whom they think is a landlord and not a host (because of Tony's trick). Hardcastle expects Marlow to be a polite young man, and is shocked at the behavior. Constance finds Hastings, and reveals to him that Tony must have played a trick. However, they decide to keep the truth from Marlow, because they think revealing it will upset him and ruin the trip. They decide they will try to get her jewels and elope together. Marlow has a bizarre tendency to speak with exaggerated timidity to "modest" women, while speaking in lively and hearty tones to women of low-class. When he has his first meeting with Kate, she is dressed well, and hence drives him into a debilitating stupor because of his inability to speak to modest women. She is nevertheless attracted to him, and decides to try and draw out his true character. Tony and Hastings decide together that Tony will steal the jewels for Hastings and Constance, so that he can be rid of his mother's pressure to marry Constance, whom he doesn't love.
Act III opens with Hardcastle and Kate each confused with the side of Marlow they saw. Where Hardcastle is shocked at his impertinence, Kate is disappointed to have seen only modesty. Kate asks her father for the chance to show him that Marlow is more than both believe. Tony has stolen the jewels, but Constance doesn't know and continues to beg her aunt for them. Tony convinces Mrs. Hardcastle to pretend they were stolen to dissuade Constance, a plea she willingly accepts until she realizes they have actually been stolen. Meanwhile, Kate is now dressed in her plain dress and is mistaken by Marlow (who never looked her in the face in their earlier meeting) as a barmaid to whom he is attracted. She decides to play the part, and they have a lively, fun conversation that ends with him trying to embrace her, a move Mr. Hardcastle observes. Kate asks for the night to prove that he can be both respectful and lively.
Last part, Act I, scene i
from admin on 07/01/2017 11:46 PM
Walter and Ruth, who occupy the middle ground in terms of age between Mama and Beneatha, have also tempered their dreams more than Beneatha has. Though Walter and Ruth harbor materialistic dreams, they desire wealth not solely for self-serving purposes but rather as a means to provide for their family and escape the South Side ghetto in which they live. The tension evoked by issues of money and manhood comes sharply into focus when Travis asks for fifty cents. Ruth, the household manager, refuses to give her son the money; Walter, as a father trying to safeguard his son’s ability to be accepted, gives Travis twice as much as he asks for. Walter does so knowing that he faces the emasculating task of having to ask Ruth for money himself as a result. As the two talk about their entrapping situation, Ruth’s reply of “[e]at your eggs” answers every statement that Walter offers, reflecting the stereotypical perception that blacks have an inability to overcome problems. Complete reading below the link
http://m.sparknotes.com/lit/raisin/section2.rhtml
Cont..... A Raisin in the Sun. Act I, scene i
from admin on 07/01/2017 11:39 PMBeneatha’s dream differs from Mama’s in that it is, in many ways, self-serving. In her desires to “express” herself and to become a doctor, Beneatha proves an early feminist who radically views her role as self-oriented and not family-oriented. Feminism had not fully emerged into the American cultural landscape when Hansberry wroteA Raisin in the Sun,and Beneatha seems a prototype for the more enthusiastic feminism of the 1960s and 1970s. She not only wants to have a career—a far cry from the June Cleaver stay-at-home-mom role models of the 1950s (June Cleaver was the name of the mother onLeave it to Beaver,a popular late-1950s sitcom about a stereotypical suburban family)—but also desires to find her identity and pursue an independent career without relying solely on a man. She even indicates to Ruth and Mama that she might not get married, a possibility that astonishes them because it runs counter to their expectations of a woman’s role. Similarly, they are befuddled by her dislike of the “pretty, rich” George Murchison. That Beneatha’s attitude toward him differs from Ruth’s or Mama’s may result from the age difference among the three women. Mama and Beneatha are, of course, a generation apart, while Ruth occupies a place somewhere in the middle; Hansberry argues that Beneatha is the least traditional of the women because she is the youngest.
Cont...... A Raisin in the Sun. Act I, scene i
from admin on 07/01/2017 09:55 PMMama’s plant symbolizes her version of this dream, because she cares for it as she cares for her family. She tries to give the plant enough light and water not only to grow but also to flourish and become beautiful, just as she attempts to provide for her family with meager yet consistent financial support. Mama also imagines a garden that she can tend along with her dream house. The small potted plant acts as a temporary stand-in for her much larger dream. Her relentless care for the plant represents her protection of her dream. Despite her cramped living situation and the lifetime of hard work that she has endured, she maintains her focus on her dream, which helps her to persevere. Still, no matter how much Mama works, the plant remains feeble, because there is so little light. Similarly, it is difficult for her to care for her family as much as she wants and to have her family members grow as much as she wants. Her dream of a house and a better life for her family remains tenuous because it is so hard for her to see beyond her family’s present situation.